The King Steps Out

This one is tough to honestly evaluate. On the one hand you have Grace Moore and her wonderful voice, able and adequate supporting roles, notably by the always reliable and graceful Frieda Inescort, Franchot Tone and Walter Connoly, and of course Sternberg's direction. For me at least that's reason enough to watch any movie, even this one which in some ways is an utter disaster. On the other there's just too much silliness, foolishness and Herman Bing. He can be aggravating enough even in small doses but he does way too much of that trademark tongue rolling and quaking of his for my taste.

And then there's the ages of the real Sisi (Moore's character, Elisabeth of Bavaria) and Franz Josef (Tone's character). When Sisi married Franz Josef she was 16 and he 24, not 40 and 30, the ages of Moore and Tone respectively. Even given the generous poetic license the producers took with the real story which is nothing if not tragic, there's only one way to look at this movie. It is nothing more than a vehicle for Grace Moore. And maybe that's reason enough to watch it.

During the 19th century, Empress Sisi of the Austria-Hungarian Empire was the darling of Europe. She was pretty and the newspapers turned her into a sensation. In many ways, the hubbub around her was like that of the late Princess Diana Windsor...with people adoring her though not exactly sure why. In real life, Sisi was a strange, vain lady who couldn't live up to this public image...after all, who could?! Well, because of her huge popularity in her time, it's not at all surprising that she was the subject of quite a few films...such as the lavish Sisi series starring Romy Schneider. Like this series, "The King Steps Out" is pretty much fiction...showing a strong romance with her eventual husband, Emperor Franz Josef...though in real life they could barely stand each other and spent much of their married life apart! So, if you see this film, remember that it is NOT really a biography...just an excuse to see the opera star Grace Moore sing!

The story purports to be the love story of Franz Josef and Sisi. Originally, the Emperor was going to marry Sisi's sister, but the sister already had a boyfriend. As for Sisi, she and the Emperor meet and fall in love...not knowing who the other was. All in all, both appear to be swell, down to Earth people. Apart from the names, pretty much all the story is fiction.

So is it any good? Well, the history teacher within me says no because the film is a historical nightmare. But, on the positive side, while it's a Grace Moore film, she doesn't sing all that much...a major plus for most viewers since most viewers don't want to hear opera music. Overall, pleasant fluff that bears almost no semblance to Sisi or Franz Josef.

A really unique opportunity to watch a Sternberg musical comedy: the style is very much in the Lubitsch mold (the two directors were basically rivals on the Paramount lot, though this was actually made at Columbia) – but the former shows little interest in the plot complications and innuendos which are more or less mandated by this type of sophisticated light fare! Leading man Franchot Tone was not the obvious choice for the genre either, yet he acquits himself quite well under the circumstances. Incidentally, this is one of 3 films I own – but actually the first I have watched – that were designed as vehicles for operetta star Grace Moore (her billing preceded here with the epithet "Miss"); while she handles the romantic comedy angle adequately enough, ironically, the numerous songs she is made to deliver prove utterly forgettable (and the sound bafflingly fades in and out during each one of them)!

Anyway, the plot involves a royal marriage within the same family(!), except that the girl concerned (who has never met her husband-to-be) is in love with someone else (who happens to be the adjutant of her intended, atypically played by Victor Jory)! The heroine is one of her sisters who decides to take action to thwart their domineering mother's plans – little did she know, however, that she would fall for the Emperor herself (before whom she appears as a commoner!) and that he repays the sentiment (interestingly, she is both berated by her sister for wanting to usurp the title and, before her identity is properly established, imprisoned for compromising the nuptials!). Other interested parties are Moore's father Walter Connolly (who similarly does not flaunt his rank and is also very fond of beer), typically befuddled Colonel Raymond Walburn, Major Thurston Hall (given to exaggerated facial expressions), Chief Of The Secret Police Johnny Arthur (his face was vaguely familiar until I realized he had been the hero of the Roland West/Lon Chaney 'old dark house' spoof THE MONSTER [1925]!) and, most hilariously, flustered hotelier Herman Bing (especially by way of his vocal inflection and the assorted guttural sounds he emanates).

In the end, even if the director's uneasiness with the material is palpable throughout (reportedly, he even asked for it not to be included in retrospectives of his work!), this is good-looking (one expects no less from a Sternberg picture, and the Ruritanian setting is certainly congenial to his pictorial sense) and surprisingly enjoyable. For the record, the copy I viewed was culled from an old TV broadcast complete with stops for publicity spots!

Notable for starring Grace Moore, being directed by Josef Von Sternberg and having tunes by none other than violin virtuoso and composer Fritz Kreisler, 'The King Steps Out' is still an enchanting and very entertaining film in its own right.

Its weak point is the story, which is very slight and occasionally veers on the wrong side of absurd. Herman Bing's role is also a little over-exposed, and while Fritz Kreisler's songs are lovely, lushly orchestrated and full of energy and pathos the only ones that really have unforgettable staying power are "Stars in My Eyes" and "What Shall Remain" (there's absolutely nothing wrong with them, they just don't have the wow factor).

'The King Steps Out' is a gorgeous-looking film though, with sumptuous period detail and photography that really shimmers. The script is heart-warming, light-footed and smart, with Walter Connolly and especially Herman Bing (did mention about him being over-exposed but still loved the performance) providing some scene-stealing moments, Bing especially delighting by facial expressions, use of voice and body language.

Sternberg directs more than competently, personally didn't think any lack of trust in the material came through, and the energy and enchanting charm 'The King Steps Out' exudes in every frame makes it such an easy film to like. Moore proves to be a graceful leading lady, beautiful in voice and a deft comedienne, while Franchet Tone is elegantly charming. Their chemistry is sweet and wholly natural.

All in all, slight but enchanting. Moore may be the main attraction, but she is certainly not the only reason to see this. 7/10 Bethany Cox

Every serious director seems to have one frivolous gem of a comedy in him. Bergman had Smiles of a Summer Night. Hitchcock had Mr. and Mrs. Smith. This is von Sternberg's. The sometimes starchy "Miss Grace Moore" is relaxed and charming. Kriesler's tunes are as buoyant and sleek as the decor. Rich and sweet as a Viennese pastry and total escapism -- if one can forget the sad fate of the real-life Cissy who was mistreated by husband and mother-in-law and eventually assassinated. Another Hollywood deviation: Cissy was noted for her gorgeous hip-length black hair. Moore has short blonde curls. Oh, well, forget such petty details and let's have another delicious, delirious waltz.